THE DOG DAYS ARE OVERPRINT THIS PAGE
a jumped, minimal and political work for eight performers by jan martens
THE DOG DAYS ARE OVER will be Jan Martens’ first work for a group of dancers since his debut I CAN RIDE A HORSE WHILST JUGGLING SO MARRY ME from 2010.
Starting point for the work is a quote by American photographer Philippe Halsman who said back in 1958: “When you ask a person to jump, his attention is mostly directed toward the act of jumping and the mask falls so that the real person appears.” THE DOG DAYS ARE OVER will be a work for eight dancers completely constructed around one physical action: the jump.
It will be a work that tries to reveal the person behind the dancer. To reach this, a very complex, mathematical, dynamic and tiring choreography is constructed, which is performed almost completely in unison. The difficulty degree of the choreography is so high, that the dancers eventually will go wrong. It is there where the mask falls.
The work is a physical attrition wherein the dancer is defined as an idle and purely executing species, striving for perfection.
But THE DOG DAYS ARE OVER has also a more reflective aim. It is a performance that wants to provoke thoughts with its audience. Thoughts about the role of dance and art; It wants to question the audience’s perception about dancers, choreographers, audience and culture policy.
Where lies the thin line between art and entertainment?
Who are we as an audience, coming to see dancers suffer as if we are watching bullfights in an arena? What do we want to achieve as an audience?
Do we want to experience an intensity which is maybe not apparent in our daily life?
Do we want to experience beauty which is maybe not apparent in our daily life?
Is contemporary dance striptease for the upper class?
THE DOG DAYS ARE OVER wants to make the watcher shift between being in the experience and reflection on that same experience.
The performance will be a work that brings the spectator in a trance, but will also create a distance and time for that same spectator to question his or her reasons to be where they are right now: in the theatre.
- BY: Jan Martens
- WITH: Cherish Menzo, Piet Defrancq, Julien Josse, Laura Vanborm, Anastassya Savitsky, Nelle Hens, Steven Michel and Kimmy Ligtvoet
- LIGHT DESIGN: Jan Fedinger
- DRAMATURGY: Renée Copraij
- PRODUCTION: ICK en JAN
- COPRODUCTION: Frascati Producties, DansBrabant, La Briqueterie CDC du Val De Marne, Spring performing arts festival, TAKT Dommelhof
- RESIDENCIES: workspacebrussels, wp zimmer, TAKT dommelhof,…
TOURING PERIOD: starting from april 2014
(see company website www.janmartens.com)
- INTERNATIONAL SALES: Line Rousseau, apropic.com
- SUPPORTED BY: The Flemish Government, Dutch Fund for the Performing Arts
company website: www.janmartens.com
Katinka Buters on www.grazen.nl about PRETTY PERFECT:
(In season 2011 – 2012 he created the work PRETTY PERFECT for the dancers of Conny Janssen Danst, which was a command from Dansateliers)
”Although PRETTY PERFECT doesn’t last very long, it is truly fascinating: It evokes an extreme tension. It reminds of the earlier marathon performances by Jan Fabre.”… “Finally there is music: Private Dancer by Tina Turner: ”I’m a dancer for money and I’ll do what you want me to do”. It comes at the right time, puts everything in it’s right place. Slowly the movement becomes smaller and smaller until it disappears completely. It leaves the audience - or the customer as you want – completely out of breath"